Betrayed by a kiss
Judas Kiss
By David Hare
Directed by Neil Armfield
Belvoir Street Theatre, Sydney
Until February 14
Review by Wendy Robertson
and Cassandra Pomroy
Judas Kiss is a potent mix of Oscar Wilde's life and love. Hedonistic, luxurious consumption and an idealistic love of beauty and youth were Wilde's prime motivations, and the cause of his ultimate downfall.
David Hare makes an analogy between Judas, the betrayer of Christ, and Bosie (Alfred Douglas), a young, rebellious aristocrat and Wilde's lover and betrayer.
The story of Christ fascinated Oscar Wilde: he read it over and over again while in his prison cell serving two years' hard labour for "acts of gross indecency". Wilde commented that it would be "artistically truer" if Christ was betrayed by John the Baptist, "the man that Christ loved the most", rather than by the kiss of Judas, a virtual stranger.
It is typical of Wilde that he would draw out of the bible, the very book used as a basis to persecute his "unnatural" homosexuality, stories of love between Christ and his disciples. Wilde revelled in mocking the ruling moral values, and this play is littered with examples of his rhetorical skills. He ridicules conventional morality most often by turning it on its head.
For a period, Wilde attracted large Victorian audiences and wooed the cream of London society. However, his popularity quickly declined when he pushed the boundaries of convention too far by refusing to hide the "indiscretion in his [homosexual] life".
The play begins with Oscar being ushered to a hotel room by one of his close friends, who recognises that Wilde's conviction is imminent and urges him follow the many other gays who were fleeing England during the witch-hunt atmosphere of the 1890s.
Bosie, who was more concerned with continuing to fight his father than ensuring Wilde's escape, put him up to the trial. Wilde, prepared to sacrifice himself for his lover, endured the trial, then prison.
The second part of the play is set in Naples, where Wilde and Bosie fled after Wilde's release from prison.
When Wilde's money ran out, and after Bosie's mother offered reconciliation with his family on the condition that he never see Wilde again, Bosie left Wilde. He claimed that, although he had not suffered in the flesh in the same way as Wilde, he had suffered more in his estrangement from his family and social circle.
Wilde, having sacrificed all for his lover, was left penniless and unable to write.
This personal betrayal symbolises the ostracism and betrayal of Wilde by London "society". Despite his having been one of their darlings, not one of this circle protested against Wilde's persecution. During his imprisonment there was not one actor, lawyer or parliamentarian in London who would put their name to a petition calling for Wilde's release.
Despite the play's depressing plot, Wilde's immense wit and quick tongue charm and woo the audience. Bille Brown gives a moving performance which captures Wilde's sensitivity and vulnerability. Malcolm Kennard is a dramatic Bosie â a thoroughly selfish, shallow shit.
Unfortunately for most Sydneysiders, the Belvoir Street performances are sold out, but you can catch Judas Kiss in Melbourne, Canberra, Ballarat, Bendigo, Geelong, Newcastle, Parramatta or Adelaide. Watch your local newspaper for details.